All RUBENS, Pieter Pauwel's oil paintings

Image

Oil Pantings, Sorted from A to Z

Other Information

9012

A Vase of Flowers f

1706 Oil on canvas, 100 x 81 cm Kunsthistorisches Museum, Vienna

29672

Adoration of the Magi

1618-19 Oil on canvas, 245 x 325 cm

29663

Adoration of the Magi

1626-29 Oil on canvas, 283 x 219 cm

64699

Adoration of the Magi

1626-29 Oil on canvas, 283 x 219 cm Mus?e du Louvre, Paris Artist:RUBENS, Pieter Pauwel Title: Adoration of the Magi, 1601-1650, Flemish , painting , religious

64701

Adoration of the Magi

1618-19 Oil on canvas, 245 x 325 cm Mus?e des Beaux-Arts, Lyon Artist:RUBENS, Pieter Pauwel Title: Adoration of the Magi, 1601-1650, Flemish , painting , religious

8975

Adoration of the Shepherds af

c. 1608 Oil on canvas St.-Pauluskerk, Antwerp

29677

Altarpiece of St Ildefonso (right panel)

after 1639 Oil on wood, 352 x 109 cm

29660

Assumption of the Virgin (detail)

1626 Oil on canvas

29661

Assumption of the Virgin (detail)

1626 Oil on canvas

29673

Battle of the Amazons

1618 Oil on panel, 121 x 166 cm

64702

Bethrotal of St Catherine

1628 Oil on canvas Staatliche Museen, Berlin Artist:RUBENS, Pieter Pauwel Title: Bethrotal of St Catherine (sketch), 1601-1650, Flemish , painting , religious

29674

Boy with Bird

c. 1616 Oil on panel, 49 x 40 cm

8987

Christ on the Cross ag

1627 Oil on panel, 51 x 38 cm Rockox House, Antwerp

51037

Christ on the Cross between the Two Thieves

1619-20 Oil on panel, 429 x 311 cm

64613

Christoffel Plantin

Oil on canvas Museum Plantin-Moretus, Antwerp Christoffel (Christophe) Plantin (1520-1589), French printer, founder of an important printing house and publisher of the Antwerp Polyglot Bible. Plantin learned bookbinding and bookselling at Caen, Normandy, and settled in 1549 as a bookbinder in Antwerp. A bad arm wound seems to have led him (about 1555) to turn to typography. His many publications were distinguished by their excellent typography, and he was original in using copper, instead of wood, engravings for book illustrations. His greatest venture, the Biblia regia, which would fix the original text of Old and New Testaments, was supported by Philip II of Spain in spite of clerical opposition and appeared in eight volumes during 1569-72. When Antwerp was plundered by the Spaniards in 1576 and Plantin had to pay a ransom, he established a branch office in Paris and then, in 1583, settled in Leiden as the typographer of the new university of the states of Holland, leaving his much-reduced business in Antwerp in the hands of his sons-in-law, John Moerentorf (Moretus) and Francis van Ravelinghen (Raphelengius). But in 1585 Plantin returned to Antwerp and Raphelengius took over the business in Leiden. After Plantin's death, the Antwerp business was carried on by Moretus, but it declined during the second half of the 17th century. All was religiously preserved, however, and in 1876 the city of Antwerp acquired the buildings and their contents and created the Plantin-Moretus Museum. Artist:RUBENS, Pieter Pauwel Title: Christoffel Plantin, 1601-1650, Flemish , painting , portrait

64608

Dance of the Peasants

1636-40 Oil on wood, 73 x 106 cm Museo del Prado, Madrid Artist:RUBENS, Pieter Pauwel Title: Dance of the Peasants, 1601-1650, Flemish , painting , landscape

8979

Daniel in the Lion's Den af

c. 1615 Oil on canvas, 224.3 x 330.4 cm National Gallery of Art, Washington

29664

Descent from the Cross

1616-17 Oil on canvas, 425 x 295 cm

64196

Descent from the Cross

1612-14 Oil on panel, 421 x 153 cm O.-L. Vrouwekathedraal, Antwerp The outsides of the wings are devoted to St Christopher. According to his medieval legend, the huge St Christopher carried the Christ Child across a river on his shoulders. A hermit on the right lights his way with a lantern. , Artist: RUBENS, Pieter Pauwel , Descent from the Cross (outside left) , 1601-1650 , Flemish , painting , religious

64197

Descent from the Cross

1612-14 Oil on panel, 421 x 153 cm O.-L. Vrouwekathedraal, Antwerp The right wing of the great triptych of the Descent from the Cross is devoted to the presentation of the Infant Christ in the Temple at Jerusalem. The elderly Simeon holds the Child in his arms while the prophetess Anna, located in the shadows between Simeon and Mary, looks on joyfully. Joseph, who has brought two sacrificial doves with him, kneels down respectfully. The onlooker on the left edge of this splendid temple interior is Nicolaas Rockox, a friend of Rubens and a prominent figure in Antwerp. , Artist: RUBENS, Pieter Pauwel , Descent from the Cross (right wing) , 1601-1650 , Flemish , painting , religious

64198

Descent from the Cross

64703

Diana and her Nymphs Surprised by the Fauns

1638-40 Oil on canvas, 128 x 314 cm Museo del Prado, Madrid The landscape and the animals were painted by Jan Wildens. Artist:RUBENS, Pieter Pauwel Title: Diana and her Nymphs Surprised by the Fauns, 1601-1650, Flemish , painting , mythological

29665

Diana Returning from Hunt

c. 1615 Oil on canvas, 136,5 x 182 cm

64704

Drunken Silenus

1618 Oil on panel, 212 x 213 cm Alte Pinakothek, Munich *** Keywords: ************* Author: RUBENS, Pieter Pauwel Title: Drunken Silenus, 1601-1650, Flemish , painting , mythological

64707

Fall of the Rebel Angels

1620 Oil on canvas, 448 x 291 cm Alte Pinakothek, Munich Artist:RUBENS, Pieter Pauwel Title: Fall of the Rebel Angels, 1601-1650, Flemish , painting , religious

52048

Head of a Franciscan Friar

Oil on canvas

64604

Helena Fourment with a Carriage

1639 Oil on wood Mus?e du Louvre, Paris *** Keywords: ************* Author: RUBENS, Pieter Pauwel Title: Helena Fourment with a Carriage, 1601-1650, Flemish , painting , portrait

29682

Helena Fourment with her Son Francis

1635 Oil on panel

29671

Lamentation of Christ

1617-18 Oil on panel, 138 x 90 cm (central panel), 137 x 48 cm (each side panel)

64572

Landscape with Cows

1636 Oil on panel Alte Pinakothek, Munich *** Keywords: ************* Author: RUBENS, Pieter Pauwel Title: Landscape with Cows, 1601-1650, Flemish , painting , landscape

44404

Landscape with Saint George and the Dragon

152,4 x 226,7 cm

64565

Landscape with the Ruins of Mount Palatine in Rome

1608 Oil on panel, 76 x 107 cm Mus?e du Louvre, Paris Artist:RUBENS, Pieter Pauwel Title: Landscape with the Ruins of Mount Palatine in Rome, 1601-1650, Flemish , painting , landscape

29683

Madonna Enthroned with Child and Saints

c. 1628 Oil on canvas, 564 x 408 cm

64709

Madonna in Floral Wreath

1620 Oil on oak, 185 x 209,8 cm Alte Pinakothek, Munich Religious flower still-lifes are a special category, first developed by the Fleming Daniel Seghers, a pupil of Jan Brueghel the Elder. However, this can be traced back to Rubens's Madonna in Floral Wreath (in which the floral decoration was painted by Jan Brueghel the Elder). This represents a picture within a picture with an authoritative religious significance, encircled by a floral arrangement and cherubs. Unlike Seghers, however, Rubens did not quote Mary and Jesus as historical traditions or pictorial relics. Instead he preferred to give the impression that they were physically present, even though the motif of a picture within a picture would have been ideally suited for illusionist stylization. Artist:RUBENS, Pieter Pauwel Title: Madonna in Floral Wreath, 1601-1650, Flemish , painting , religious

8983

Massacre of the Innocents AF

1621 Oil on panel, 199 x 302 cm Alte Pinakothek, Munich

29686

Meeting of Mary and Elisabeth (detail)

1612-14 Oil on panel

29684

Mercury and Argus

1635-38 Oil on panel, 63 x 87,5 cm

64564

Old Woman with a Basket of Coal

1618-20 Oil on wood, 115 x 92 cn Gem?ldegalerie, Dresden Artist:RUBENS, Pieter Pauwel Title: Old Woman with a Basket of Coal, 1601-1650, Flemish , painting , genre

64610

Perseus and Andromeda

1620s Oil on canvas transferred from wood The Hermitage, St. Petersburg *** Keywords: ************* Author: RUBENS, Pieter Pauwel Title: Perseus and Andromeda, detail of Pegasus, 1601-1650, Flemish , painting , mythological

64710

Perseus Liberating Andromeda

1639-40 Oil on canvas, 265 x 160 cm Museo del Prado, Madrid This is a late work of Rubens. The unfinished painting was finished by Jacob Jordaens. Artist:RUBENS, Pieter Pauwel Title: Perseus Liberating Andromeda, 1601-1650, Flemish , painting , mythological

64711

Portrait of a Woman

Oil on canvas Mus?e des Beaux-Arts, Marseille Artist:RUBENS, Pieter Pauwel Title: Portrait of a Woman, 1601-1650, Flemish , painting , portrait

64569

Portrait of Helena Fourment

1630 Oil on canvas Mus?es Royaux des Beaux-Arts, Brussels Artist:RUBENS, Pieter Pauwel Title: Portrait of Helena Fourment, 1601-1650, Flemish , painting , portrait

64568

Portrait of Marchesa Brigida Spinola Doria

1606 Oil on canvas National Gallery of Art, Washington The painting was done while Rubens was in Genoa in 1606. It was cut down from a full-length portrait in which the young Marchesa (age 22) appears in the porch of a villa. We know this from a study drawing for the portrait, which is in the Pierpont Morgan Library, New York. Artist:RUBENS, Pieter Pauwel Title: Portrait of Marchesa Brigida Spinola Doria, 1601-1650, Flemish , painting , portrait

64192

Raising of the Cross

1610 Oil on panel, 460 x 340 cm (centre panel), 460 x 150 cm (wings) O.-L. Vrouwekathedraal, Antwerp Rubens painted the triptych for the high altar of Antwerp's church of St Walpurgis, which was demolished in 1817. That explains the inclusion of Amand, Walpurgis and Eligius on the back side of the wings. The triptych marked Rubens' sensational introduction of the Baroque style into Northern art. The diagonal composition is full of dynamism and animated colour. The artist had just returned from Italy, with the memory of Michelangelo, Caravaggio and Venetian painting still fresh in his mind. The Raising of the Cross is the perfect summation of the unruly bravura that marked his first years in Antwerp. In the centre nine executioners strain with all their might to raise the cross from which Christ's pale body hangs. The dramatic action is witnessed from the left by St John, the Virgin Mary and a group of weeping women and children. On the right, a Roman officer watches on horseback while soldiers in the background are crucifying the two thieves. In other words, the subject is spread across all three panels. The outside of the wings shows Saints Amand, Walpurgis, Eligius and Catherine of Alexandria. The painting was confiscated by the French in 1794 and taken to Paris. It was returned to Antwerp in 1815, following the defeat of Napoleon, and installed in the church of Our Lady. During restoration in the 1980s, successive layers of varnish, which had form an even grey veil over the painting, were removed. The burgeoning talent of the confident young Rubens is more clearly visible now in the intense emotion of the figures, the contrasting lighting, the glow of the labouring bodies and the gleam of the armour and costly robes. , Artist: RUBENS, Pieter Pauwel , Raising of the Cross , 1601-1650 , Flemish , painting , religious

64193

Raising of the Cross

1610 Oil on panel O.-L. Vrouwekathedraal, Antwerp The picture shows a detail of the left panel of the triptych. , Artist: RUBENS, Pieter Pauwel , Raising of the Cross (detail) , 1601-1650 , Flemish , painting , religious

64194

Raising of the Cross

1610 Oil on panel, 460 x 150 cm O.-L. Vrouwekathedraal, Antwerp Rubens painted the triptych for the high altar of Antwerp's church of St Walpurgis, which was demolished in 1817. That explains the inclusion of Amand, Walpurgis and Eligius on the back side of the wings. According to tradition, Bishop Amand founded that church - Antwerp's first - some time around 650. He features on the outside of the wings in the company of Walpurgis, a 8th-century saint, who supposedly lived for several years as a hermitess in the church's crypt, before becoming abbess of the convent she founded in Bavaria. In the right shutter, Rubens placed St Eligius, the blacksmith and bishop. Eligius was the patron saint of Antwerp's blacksmiths, who had their altar at St Walpurgis. Catherine of Alexandria stands in front of him with her martyr's sword and palm branch. The prominent position she is given in the altarpiece no doubt had something to do with a special devotion in the church, perhaps a confraternity of St Catherine, of which, however, no details are known. , Artist: RUBENS, Pieter Pauwel , Raising of the Cross: Sts Amand and Walpurgis , 1601-1650 , Flemish , painting , religious

64182

Return of the Prodigal Son

1618 Oil on canvas, 107 x 155 cm Koninklijk Museum voor Schone Kunsten, Antwerp When Rubens died in 1640, he still possessed his Prodigal Son of 1618. Amongst his many grand altarpieces and dramatic mythological subjects, the creation of this rural scene, intended for his own living room, must have given him a great deal of pleasure. The biblical subject - depicted bottom right - serves merely as a vehicle for the painting of one of his earliest landscapes. , Artist: RUBENS, Pieter Pauwel , Return of the Prodigal Son , 1601-1650 , Flemish , painting , religious

29657

Self-Portrait

1628-30 Oil on canvas

64609

Self-portrait

109,5 x 85 cm Kunsthistorisches Museum, Vienna This is the last of Rubens's four self-portrait, executed shortly before his death. Artist:RUBENS, Pieter Pauwel Title: Self-portrait, 1601-1650, Flemish , painting , portrait

29666

Small Last Judgement

Oil on wood, 183,3 x 119 cm

8977

St James the Apostle af

1612-13 Oil on panel, 108 x 84 cm Museo del Prado, Madrid

51033

Sts Amand and Walpurgis

1610 Oil on panel, 460 x 150 cm

51034

Sts Eligius and Catherine

1610 Oil on panel, 460 x 150 cm

63045

Summer

142,8 x 222,8 cm Royal Collection, Windsor The painting is a companion scene to Winter (also in the Royal Collection), although it was only when both pictures were in the collection of Frederick, Prince of Wales, that they seem to have been treated as a pair. X-ray examination reveals that the priming on all the additional pieces of canvas is identical, but differs from that of the central section of this work. It appears that the design on the initial piece of canvas had not been fully resolved in all respects by the time the extra portions were added. The join on the left is on a line with the tall windswept trees, which seem to have been painted over the sky and therefore may be regarded as an adaptation of the original design, which most probably incorporated a clear view through to the horizon. On the right the design has been more radically changed as a result of the addition. A steep bank (still visible to the naked eye) originally closed the composition, but this was painted out so that the horizon could be extended in the upper half and a further group of farm buildings introduced in the middle distance. The addition along the lower edge allowed for the horse and cart in the immediate foreground. In effect, if the additions are discounted, the original composition remains an entity in its own right, but the changes alter the dynamics of the painting, placing greater emphasis on the peasants wending their way to market. The composition of Summer is distinguished. There is an emphasis on contrasting diagonals that reinforces the sense of movement begun by the figures in the foreground. The eye is plunged into the distance across a glorious landscape that is positively pantheistic in its celebration of nature (note the cow being mounted in the centre of the composition). Regardless of differences in scale and style, a telling comparison can be made between Summer and The Flemish Fair by Jan Brueghel the Elder. Interestingly, it has been suggested that the composition of Summer depends upon a lost painting by Pieter Bruegel the Elder entitled On the Way to Market, only known today through an anonymous drawn copy in the Staatliche Graphische Sammlung, Munich. Artist: RUBENS, Pieter Pauwel Painting Title: Summer , 1601-1650 Painting Style: Flemish , , landscape

29680

Tereus Confronted with the Head of his Son Itylus

1636-38 Oil on panel, 195 x 267 cm

64195

The Adoration of the Magi

1624 Oil on panel Koninklijk Museum voor Schone Kunsten, Antwerp , Artist: RUBENS, Pieter Pauwel , The Adoration of the Magi (detail) , 1601-1650 , Flemish , painting , religious

8985

The Adoration of the Magi (detail) f

1624 Oil on panel Koninklijk Museum voor Schone Kunsten, Antwerp

8984

The Adoration of the Magi af

1624 Oil on panel, 447 x 336 cm Koninklijk Museum voor Schone Kunsten, Antwerp

64571

The Apotheosis of Henry IV and the Proclamation of the Regency of Marie de Medicis on May

1610 1623-25 Oil on canvas Mus?e du Louvre, Paris *** Keywords: ************* Author: RUBENS, Pieter Pauwel Title: The Apotheosis of Henry IV and the Proclamation of the Regency of Marie de Medicis on May 14, 1610, 1601-1650, Flemish , painting , historical

29668

The Artist and His First Wife, Isabella Brant, in the Honeysuckle Bower

1609-10 Oil on canvas-covered panel, 178 x 136,5 cm

29678

The Cardinal Infante

c. 1634 Oil on canvas, 335 x 258 cm

29675

The Consequences of War

1637-38 Oil on canvas, 206 x 342 cm

29676

The Consequences of War (detail)

1637-38 Oil on canvas

8976

The Crucified Christ af

1610-11 Oil on canvas, 219 x 122 cm Koninklijk Museum voor Schone Kunsten, Antwerp

8973

The Deposition af

1602 Oil on canvas Galleria Borghese, Rome

64706

The Duke of Buckingham

1625 Oil on canvas, 63 x 48 cm Galleria Palatina (Palazzo Pitti), Florence George Villiers, the 1st Duke of Buckingham (1592-1628), was a royal favourite and statesman who virtually ruled England during the last years of King James I and the first years of the reign of Charles I. Buckingham was extremely unpopular, and the failure of his aggressive, erratic foreign policy increased the tensions that eventually exploded in the Civil War between the Royalists and the Parliamentarians. Artist:RUBENS, Pieter Pauwel Title: The Duke of Buckingham, 1601-1650, Flemish , painting , portrait

29656

The Education of the Virgin

1625-26 Oil on canvas, 193 x 140 cm

29669

The Flagellation of Christ

Oil on panel, 37,4 x 35,1 cm

29662

The Four Continents

c. 1620 Oil on canvas. 209 x 284 cm

64605

The Hermit and the Sleeping Angelica

1626-28 Oil on oakwood, 43 x 66 cm Kunsthistorisches Museum, Vienna The painting is an illustration of one of the episodes of Ariosto's Orlando furioso. Artist:RUBENS, Pieter Pauwel Title: The Hermit and the Sleeping Angelica, 1601-1650, Flemish , painting , other

29688

The Holy Family with St Anne

c. 1628 Oil on canvas, 115 x 90 cm

8980

The Holy Family with the Basket f

c. 1616 Oil on panel, 169 x 128 cm Picture Gallery, Potzdam-Sanssouci

51109

The Incredulity of St Thomas

1613-15 Oil on wood

29687

The Last Communion of St Francis

1619 Oil on panel, 422 x 226 cm

51067

The Martyrdom of St Livinus

1633 Oil on canvas, 455 x 347 cm

29679

The Martyrdom of St Stephen

Oil on canvas

8986

The Meeting of Abraham and Melchizedek fa

1625 Oil on wood National Gallery of Art, Washington

51035

The Resurrection of Christ

1611-12 Oil on panel, 138 x 98 cm central panel

51036

The Resurrection of Christ

c. 1612 Oil on panel, 138 x 98 cm

63958

The Road to Calvary

1634-37 Oil on canvas, rounded at the top, 569 x 355 cm Musees Royaux des Beaux-Arts, Brussels This painting was commissioned in 1634 for the high altar of the Abbey of Affligem, then one of the most important monasteries in the Low Countries. Tensions inside the monastery may explain why this monumental work was not delivered until 1637. In this production of his mature period, Rubens masterfully combines two artistic traditions. The first of these is that of the large single-frame altarpieces that were to replace the older polyptychs in the Southern Low Countries in the 17th century. With their exceptional scale and their strongly vertical format, they faced artists with the problem of constructing a convincing compositional unity from a series of related themes in a vertical format. As an artist gifted with one of the greatest compositional and narrative talents of his age, Rubens fulfilled his task masterfully. Instead of dividing the painting into an upper and lower register, a solution that he had often applied following Titian, he elects here to represent Christ's ascension to the place of his execution on Calvary in an uninterrupted zigzag movement. The thrust from below to above is achieved both in the colouring, with a balanced rhythm of localised concentrations of colour, and also iconographically, with the successive tableaux of the executioners with the two thieves, the holy women with Mary and Veronica, and ending with the Roman officers on horseback with their flapping pennants. The centre-point of the composition is Christ's face that St Veronica is wiping. Turned towards the viewer, it forms a direct call to the faithful to follow his life and to think on their own sins that had to be redeemed by Christ's suffering. This procedure descends directly from the tradition of devotional art, with small-scale pictures intended for individual meditation. The genius of Rubens' invention lies precisely in the combination of the two pictorial traditions, breathing new life into the ancient devotional tradition within a contemporary, counter-reformation form of altar decoration, whilst at the same time enriching the broad, sweeping movement of such a monumental high altarpiece with the more intimate emotionality of smaller devotional paintings. , Artist: RUBENS, Pieter Pauwel , The Road to Calvary , 1601-1650 , Flemish , painting , religiou

43906

The Three Crosses

c. 1620 Oil on canvas

29658

The Triumph of Victory

c. 1614 Oil on wood

29659

The Virgin and Child in a Garland of Flower

1621 Oil on canvas, 83,5 x 65 cm

64581

Triumphal Entry of Henry IV into Paris

1627-30 Oil on canvas, 380 x 692 cm Galleria degli Uffizi, Florence This canvas belongs to the unfinished cycle dedicated to Henry IV and shows the king, converted and victorious, entering Paris on 22 March 1594 at the end of a long period of internal struggles. Renouncing any reference to time or place, Rubens illustrates the episode in a complex allegorical context, creating an analogy with the triumph of a Roman emperor. In particular, the group of the crowned king and the architecture of the triumphal arch (derived from the Roman prototype of the arch of Titus), surmounted by soldiers and horses, arise from en evident reinterpretation of Mantegna's painting of Caesar's Chariot. *** Keywords: ************* Author: RUBENS, Pieter Pauwel Title: Triumphal Entry of Henry IV into Paris, 1601-1650, Flemish , painting , historical

29670

Venus in Fur-Coat

1630s Oil on wood, 176 x 83 cm

29667

Virgin and Child

Oil on panel, 62 x 50 cm

64698

Virgin and Child

1620-24 Oil on wood, 65 x 48 cm Mus?es Royaux des Beaux-Arts, Brussels Artist:RUBENS, Pieter Pauwel Title: Virgin and Child, 1601-1650, Flemish , painting , religious

64700

Virgin and Child

62 x 50 cm St.-Niklaaskerk, Brussels Artist:RUBENS, Pieter Pauwel Title: Virgin and Child, 1601-1650, Flemish , painting , religious

8974

Virgin and Child af

c. 1604 Oil on panel Mus??e des Beaux-Arts, Tours

8982

Virgin and Child AF

Oil on panel, 62 x 50 cm St.-Niklaaskerk, Brussels

8981

Virgin and Child AG

1620-24 Oil on wood, 65 x 48 cm Mus??es Royaux des Beaux-Arts, Brussels

64708

Virgin and Child Enthroned with Saints

1627-8 Oil on wood, 80.2 x 55.5 cm Staatliche Museen, Berlin This is a sketch for a large altar painting. Artist:RUBENS, Pieter Pauwel Title: Virgin and Child Enthroned with Saints, 1601-1650, Flemish , painting , religious

8978

Virgin in Adoration before the Christ Child f

c. 1615 Oil on panel, 65 x 50 cm Rockox House, Antwerp

29685

Woman with a Mirror

c. 1640 Oil on canvas

RUBENS, Pieter Pauwel

Flemish Baroque Era Painter, 1577-1640

Sweden Wholesale Oil Paintings, Stretcher Bars, Picture Frames & Beveled Mirrors